Triads
Skip every other white key from C (C, E, G) and you have played a triad, the three-note chord under most of the songs you know.
Three notes stacked in thirds
A chord is three or more different notes sounding together. The most common chord in Western music is the triad, three notes stacked in thirds. Start on any note, skip a letter, take the next one, skip again, take the next: C, E, G or D, F, A or G, B, D. On the staff a triad stacked this way sits on three neighbouring lines or three neighbouring spaces, and Open Music Theory compares the shape to a snowperson with a bottom, middle and head.
Each note has a name that tells you its place in the stack. The bottom note is the root, and the chord is named after it: C, E, G is a C chord. The middle note is the third, a third above the root. The top note is the fifth, a fifth above the root. These names stick to the notes even when the chord is rearranged, so in a C chord E is always the third and G the fifth, wherever they are played.
Spelling a triad
To spell a triad on any root, first write the letters: root, skip, third, skip, fifth. D gives D, F, A. Then think of the major key signature of the root and apply only the accidentals that touch those letters. D major has F♯ and C♯; the triad uses F but not C, so the D major triad is D, F♯, A. For A♭, the letters are A, C, E, and A♭ major's signature flattens A and E, which gives A♭, C, E♭. This method always gives a major triad first; the next unit shows how to change it into the other qualities.
Doubling and spacing do not change a chord's name. A guitarist strumming six strings on an open C chord plays C, E, G, C, E (one string is silent), with C and E doubled. A pianist might play C in the left hand and E, G, C spread across the right. Both are still a C major triad, because the set of letter names is the same. To identify a spread-out chord, gather its notes into the tightest stack of thirds you can and read the bottom note.
Chord symbols, the letters printed above songs and guitar parts, name a triad by its root and quality. A capital letter alone means major: C is a C major triad. A small "m" (Open Music Theory writes "mi") marks minor, so Am is A, C, E. You will meet the symbols for diminished and augmented in the next unit. On the keyboard below, play C, E and G one at a time and then together, and compare the sound with D, F, A.
- A triad is built from which interval stacked twice?
- Thirds
- Seconds
- Fourths
- Fifths
- What is the root of the triad E-G-B?
- E
- G
- B
- C
- In a C triad, which note is the fifth?
- G
- E
- C
- A
- Type the third of a D major triad (use # for sharp).
- Spell the A♭ major triad.
- A♭ C E♭
- A♭ C♭ E♭
- A C E
- A♭ C E
- On the staff, a root-position triad sits on…
- Three lines or three spaces
- Line, space, line
- Three neighbouring lines and spaces
- Always below the staff
- A guitar plays C E G C E. What chord is it?
- C major
- E minor
- A minor
- G major
- What does the chord symbol Am mean?
- A minor triad (A C E)
- A major triad (A C♯ E)
- A augmented
- A with an added M
- How many different letter names does a triad use?
- C4 is about 261.63 Hz. Multiply by 3/2 to estimate G4 (whole number).
- Chord: three or more different notes together. Triad: three notes in thirds.
- Root, third, fifth; the chord is named after the root.
- Spell from the root's major key signature.
- Doubling and spacing do not change the chord.
Sources for this course (9)
- Open Music Theory 2e (Viva Pressbooks; ideas only, no sentences copied): "Triads" (a chord is three or more pitch classes sounding together, triads stack in thirds on all lines or all spaces, root/third/fifth, four qualities named for the third (major, minor) or the fifth (diminished, augmented), common expressive associations, chord symbols C, Cmi, C°, C+, spelling with the root's major key signature, doubling and spacing do not change identity, triad qualities on each degree of major and minor; viva.pressbooks.pub/openmusictheory/chapter/triads/)
- "Seventh Chords" (five qualities, other names, qualities on each degree in major; viva.pressbooks.pub/openmusictheory/chapter/seventh-chords/)
- "Inversion" (bass vs root, first/second/third inversion, slash symbols; viva.pressbooks.pub/openmusictheory/chapter/inversion/)
- "Figured Bass and Roman Numerals with Figures" (5/3, 6/3, 6/4, 7, 6/5, 4/3, 4/2, abbreviations; viva.pressbooks.pub/openmusictheory/chapter/figured-bass/)
- "Roman Numerals" (uppercase major, lowercase minor, ° diminished, + augmented, ø7 and °7; viva.pressbooks.pub/openmusictheorycopy/chapter/roman-numerals)
- "Introduction to Harmony, Cadences, and Phrase Endings" (tonic, predominant, dominant functions with chord lists, phrase model, PAC/IAC/HC definitions; viva.pressbooks.pub/openmusictheory/chapter/intro-to-harmony/)
- Robert Hutchinson, Music Theory for the 21st-Century Classroom, "Cadences" (plagal IV-I, deceptive V-vi, the prelude to Act I of Wagner's Tristan und Isolde as a famous deceptive cadence; no bar number given in the text; musictheory.pugetsound.edu/mt21c/cadences.html) and "Figured Bass Inversion Symbols" (musictheory.pugetsound.edu/mt21c/FiguredBassInversionSymbols.html)
- Wikipedia "Treatise on Harmony" (Rameau, Paris 1722, fundamental bass and inversion of chords; en.wikipedia.org/wiki/Treatise_on_Harmony)
- musictheory.net lessons 40-47 used as a cross-check only. frequencies with f = 440 x 2^((m - 69) / 12) (C4 261.63, E4 329.63, G4 392.00 Hz).
Checked: 2026-10-17